Middlemarch is a highly unusual novel. Although it is primarily a square-toed novel, it has many characteristics typical to modern novels. Critical reaction to Eliots masterpiece work was mixed. A common accusation leveled against it was its morbid, depressing tone. more critics did not like Eliots habit of scattering obscure literary and scientific allusions throughout the book. In their opinion a muliebrity writer should not be so intellectual. Eliot hated the silly, women novelists. In the Victorian era, women writers were generally confined to writing the stereotypical fantasies of the schematic romance fiction. Not only did Eliot dislike the constraints imposed on womens writing, she disliked the stories they were expected to produce. Her disdain for the tropes of conventional romance is evident in her treatment of wedding between Rosamond and Lydgate. Both and Rosamond and Lydgate call up of courtship and romance in terms of ideals taken direct from conventional romance. An otherwise problem with such fiction is that married couple marks the end of the novel. Eliot goes through great effort to express the realities of marriage.
Moreover, Eliots many critics found Middlemarch to be too depressing for a woman writer. Eliot refused to bow to the conventions of a happy ending. An ill-advised marriage between two people who are inherently different never becomes completely harmonious. In fact, it becomes a yoke.
Such is the causal agency in the marriages of Lydgate and Dorothea. Dorothea was saved from living with her mistake for her whole lifetime because her elderly husband dies of a heart attack. Lydgate and Rosamond, on the other hand, married young.
Two major life choices govern the narrative of Middlemarch. angiotensin-converting enzyme is marriage and the other is vocation. Eliot takes both choices very seriously. Short, romantic courtships direct to trouble, because both parties entertain unrealistic ideals of each other.
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